The Writing of Novels

With each new encounter-- after(prenominal), of course, receiving the lesson of the unparalleled Bishop Digne's candlesticks--Valjean makes a project of attempting to reclaim and live out the uncomplicated innocence that prison had destroyed. The odds against which he struggles bugger off have to the fact that the state dehumanized him because he stole bread-- opulentally--for his family. The arouse punishment for his action conveys the cultural values that Hugo means to tap and that dominate human experience in bourgeois France.

That review is literally embodied in the characters Valjean encounters throughout the story. According to Negus and Pickering, the yeasty process "entails a communicative experience which is cross-relational, intersubjective and interactive confabulation bringing its participants together in the activity of interpretation, exchange and sense" (2004, p. 25). One instance of this occurs when Javert and M. Madeleine (Valjean) clash over Fantine. Javert wants to arrest her (illegally), and Madeleine--kindly further with the stern strength that object lesson right supplies--prevents it. That helps explain Javert's vengeful pastime of Valjean once he discovers his true identity; that pursuit represents the vengefulness of the state apparatus. In that regard Negus and Pickering refer to amative art's balancing critique of "a secularized, utilitarian society [as] a force that would break the cold, clinical fetters of rationalism" (p. 7).

Hugo, V. (1992). Les Mis?rables. C.E. Wilbour (Trans.). New York: The Modern Library.

Les Mis?rables resonates as a created whoremonger because of its presentation of the power of social ideology to confer happening and harm on individual experience. The precariousness of Valjean's constituteence ever looms large in one form or other; Javert never lets him settle. Indeed, Valjean conceals his existence (identity) in order to safeguard it. Whether as Madeleine or Marius's unknown benefactor, Valjean, as epitome of morality and constancy, is repeatedly thwarted. That quality, connected to the tension created by social/state pressures, dominates the text.

Valjean's unceasing experience of uncertainty as he seeks security is "a version, or projection, of [the] living process" (Langer, 1957, p. 46) of those who are obliged to exist on the social fringes.

What makes this very long book come to life is the constant menace to Valjean's well-being that lurks in the mise en scene and the reader's need to get everything worked out properly for the hero. From a moral standpoint, his selfless helping of Cosette and Fantine should result in reward, tho for his troubles he is punished--and it never ends because he repeatedly refuses to take credit for heroic acts he performs. That is a notion associated with Romanticism, unless even if he took credit for heroism Valjean would still be pursued by society. Even Marius, whose life Valjean saves at the barricades and connects with Cosette, ungratefully wedges Valjean out of her life, not knowing that Valjean saved his (Marius's) own life: "Valjean did all, smoothed all, conciliated all, do all easy" for Cosette and Marius (Hugo, 1992, p. 1163). Valjean makes life look bearable to others, but repeatedly Hugo shows how cruel life can be. Thus the melancholy, after Th?nardier/Jondrette vastly overreaches, not because Marius is shamed into behaving decently but because that occurs at Valjean's deathbed. That, as Langer would have it,
Order your essay at Orderessay and get a 100% original and high-quality custom paper within the required time frame.